Plate 9: Arch of Constantine in Rome (Arco di Costantino in Roma)

A veduta, plural vedute, is a highly detailed, usually large-scale painting or, more often print, of a cityscape or some other landscape. The painters of vedute are referred to as vedutisti. Veduta was introduced by northern European artists, most likely Flanders who worked in Italy, such as Paul Brill (1554–1626), a landscape painter who produced a number of marine views and scenes of Rome that were purchased by visitors. Among the most famous of the vedutisti are four Venetians. Canaletto was probably the greatest of the vedutisti, produced Venetian architecture works. Giacomo Guardi (1678–1716), Giannantonio Guardi (1699–1760), and Francesco Guardi (1712–93), also produced a great number of views of Venice. Giovanni Pannini (c. 1691–1765/68) was the first artist to concentrate on painting ruins.

Giovanni Battista Piranesi, famous for his etchings of Rome and of fictitious and atmospheric "prisons" (Le Carceri d'Invenzione), was born in Veneto, the Republic of Venice in a family of stonemasons and architects. He was apprenticed of his uncle, who was a leading architect in Magistrato delle Acque, the state organization responsible for engineering and restoring historical buildings. From 1740, he worked in Rome as a draughtsman for Marco Foscarini, the Venetian ambassador. He worked with pupils of the French Academy in Rome to produce a series of vedute (views) of the city. From 1743 to 1747 he was back in Venice where he often visited Giovanni Battista Tiepolo. In 1748–1774, back in Rome, he created a series of vedute of the city which established his fame. In 1761 he became a member of the Accademia di San Luca and opened a printing facility of his own. He died in Rome in 1778, and was buried in the church he had helped restore, Santa Maria del Priorato. His tomb was designed by Giuseppi Angelini.

Renaissance representation of classical ruins was a symbol of antiquity, enlightenment, and lost knowledge. Ruins spoke to the passage of time. The greatest subject for ruin artists was the overgrown and crumbling Classical Rome remains. Forum and the Colosseum, Pantheon, and the Appian Way. Initially, art representations of Rome were realistic, but soon the imagination of artists took flight. Roman ruins were scattered around the city, but frustrated artists began placing them in more pleasing arrangements. Capriccio was a style of imaginary scenes of buildings and ruins.

Printmaking in woodcut and engraving came to Northern Italy within a few decades of their invention north of the Alps. Engraving probably came first to Florence in the 1440s, the goldsmith Maso Finiguerra (1426–64) used the technique. Italian engraving caught the very early Renaissance, 1460–1490. Print copying was a widely accepted practice, as well as copying of paintings viewed as images in their own right.

The Romans traced the traditions of the triumph back to their own beginnings. Rome’s legendary founder, Romulus, was the first to celebrate the rite when he defeated and killed Acron, the king of Caenina. The Roman triumph was an ancient martial tradition, a parade with symbolic culmination involved elevating the victorious general (triumphator) to divine status for a single day. The Romans marked his status by staining his face red using the mineral pigment cinnabar. The depictions on the Arch of Titus serve as a visual representation of the Roman victory over the Jewish rebellion and the subsequent devastation of Jerusalem. For many Jewish people, the arch symbolizes the loss of the Second Temple and the dispersion of the Jewish community. It stands as a historical reminder of the Roman conquest and the diaspora that followed. In the summer of 71 C.E. the Roman emperor Vespasian and Titus, his eldest son, had quelled a dangerous revolt in the Roman province of Judea and returned to Rome to celebrate this major accomplishment. Not only that, but the Flavian dynasty (Vespasian and his two sons Titus and Domitian) had succeeded in winning the throne during the year 69 C.E.—a time of bloody civil turmoil known as the “Year of the Four Emperors.” The arch was constructed in 82 CE to commemorate the military victories of the Roman Emperor Titus, particularly his conquest of Jerusalem and the destruction of the Second Temple in 70 CE. The reliefs on the arch depict scenes from the war, including the triumphal procession with Roman soldiers carrying the looted treasures from the Temple, such as the menorah (the seven-branched candelabrum) and the silver trumpets and other spoils of war taken from Jerusalem during the First Jewish-Roman War (66-73 CE).

The arch was commissioned by the Roman Senate to commemorate Constantine's victory over Maxentius at the Battle of Milvian Bridge in AD 312. Arch of Constantine is an important monument that reflects the political and military achievements of Constantine the Great, who played a significant role in the Roman Empire's transition to Christianity. Constantine's victory at the Battle of Milvian Bridge is said to have been a turning point that influenced his support for Christianity and eventually led to the Edict of Milan in 313 CE, which granted religious tolerance to Christians. The arch stands near the Colosseum and was dedicated in 315 CE. It is the largest surviving triumphal arch in Rome. The structure consists of three archways and is adorned with reliefs and sculptures, some of which were repurposed from earlier monuments and buildings. The reliefs on the Arch of Constantine depict scenes from various imperial campaigns and events, including battles, hunting scenes, and religious ceremonies. Some of the reliefs were taken from earlier monuments, such as the Arch of Marcus Aurelius and the Arch of Trajan, and were incorporated into the design of the Arch of Constantine. The Arch of Constantine itself has undergone some restoration and conservation work over the years to ensure its preservation. These efforts have focused on stabilizing the structure, cleaning the stonework, and addressing any deterioration or damage caused by weathering and pollution.